Le Quattro Volte

Le Quattro Volte is a distinct film that explores the existential journey of soul transmigration. Directed by Michelangelo Frammartino, this 2010 film does not resort to conventional dialogues or heavy plot but uses sounds of ordinary life and breathtaking landscapes of southern Italy to weave a narrative that is as sublime as it is profound. Starring Giuseppe Fuda, Bruno Timpano, and Nazareno Timpano, the movie ventures into the terra incognita of cinema, blending an anthropological sight with metaphysical speculation.

The title Le Quattro Volte translates to "The Four Times," which directly resonates with Pythagoras' concept of the soul's fourfold transmigration, from humans to animals to plants to, eventually, the mineral world. This metaphysical journey prompts us to ponder on the interconnectedness of all forms of life and our relationship with the environment around us.

The story unfolds in an ancient village nestled in Calabria's mountainous landscapes, where life throbs to nature’s rhythm. The scenes revolve around an old goatherd who is shown dependent on a folk remedy for his ailment, a remedy he acquires by trading goat milk to a woman for dusts from the church floor. His is a silent world, both harsh and tranquil, where the border that separates life and death appears porous and the progression, natural.

The old shepherd's tale is only the beginning of this visual sonnet. Transitioning from his dying moments, the narrative advances into the life of a newborn goat. The nuances of animal life illustrated through the kid's exploration and eventual lonely demise impress upon us the uncertainty and fragility of life that often goes unnoticed.

The soul's journey then hovers over to the plant realm, specifically a giant fir tree that towers over the landscape. The camera intimately captures the tree in different seasons and moods, allowing us to marvel at the silent perseverance of nature. The narrative continues with the tree being axed for a local traditional festival, an event that underscores human's communal ties with nature.

Finally, the soul migrates to the inanimate realm, where it becomes part of the ash that feeds the cycle of life anew. Here, Frammartino subtly shifts his perspective to filming the process of charcoal-making. The intimate detailing of this process is artful, hinting at the continual transformation of matter and energy in the universe.

Le Quattro Volte is rich in symbolism and allegory. The film hoards no dialogues yet communicates a volume through its sounds — the bleating goats, the rustling trees, the village chatters, and the eventual silence — enhancing its aesthetic quality and deepening its impact. Frammartino experiments with the 'time-image' concept of cinema, replacing narrative causality with juxtapositions that foster a contemplative active viewer. The long, uncut sequences enable the audiences to dwell on the images rather than passively moving along with the plot.

While Giuseppe Fuda, Bruno Timpano, and Nazareno Timpano don't play conventional characters, their contribution to the film is hotchpotch of human and animal performance contributing to a sense of the all-encompassing circle of existence. Their understated performance compliments the director’s intent to emphasize the interconnectedness of all life forms.

Visually stunning, Frammartino's Le Quattro Volte is a cinematic tapestry carpeted with Calabrian landscapes. The vistas of rolling hills, the village snuggled inside them, the sprawling countryside, and the capturing of different seasons paint a picture both real and ethereal.

This thought-provoking and experimental film moves at a slow, measured pace. It is not for those seeking a fast-moving, dramatic plot, but rather, it's for seekers of existential and cinematic depth who would appreciate its delicate balance of realism and spirituality. Le Quattro Volte is a poetic affirmation of the continuum of life, impressing upon us the unending cycle of living, dying, and becoming — a spectacle of transcendence where every end is a new beginning.